Alice Jean Small

Vintage Pierrot et Perroquet Clown Original Oil Figurative

Circa 1970

Small portrait of a clown with colorful, expressionist brushstrokes by Marjorie Blake (American, 1920-1994). Signed "M. Blake" in the lower right corner...

"A Sense of Balance" - Figurative Harlequin Clown Watercolor on Heavy Paper Watercolor of three clowns by Sefla Joseph (Canadian, 20th Century). Three clowns are standing closely to...

Mid century pulp art portrait of a somber clown with a yellow shirt, red hair and a red nose, holding a scepter in a dramatized space with a candle and green ...

Crying Clown Portrait in Oil on Canvas Portrait of a sad clown by San Francisco artist John Peers (American, 1922-2009). This portrait is closely fra...

When it comes to pictorial imagery on the theme of clowns, complexity emerges, often revealing multiple layers of interpretation. Beyond the laughter and amusement associated with circus performers, there are poignant undercurrents of potential suffering and personal anguish. This oil portrait explores the duality inherent in the clown...

European Artist. Oil on board. Portrait of a clown. Expressionist style with impasto strokes. Colouristic palette. Dated 1962 on the back. Indistinctly signed. In perfect condition. ...

Gouache on paper, signed on the leg of the clown. Armand Avril, né à Lyon en 1926, est un peintre vivant à Cotignac dans le Var. Il est surtout connu pour les assemblages qu'il a réalisés à partir de 1968. D'origine modeste, cependant très tôt intéressé par l'art et les musées où le poussait son père, il s'essaie d'abord à la peinture. Cependant, Avril ne commence à trouver son véritable style qu'à l'âge de quarante-deux ans. Enfant, il est un habitué des musées de Lyon qu’il fréquente sur les conseils de son père. Adulte, sa passion pour la collection l’incite à se nourrir des arts premiers et d’artistes comme Gaston Chaissac...

This portrait of a clown by Maurice Kish is part from a series of carnival figures, circus clowns and carousel horses and riders that he did in the 30s and 40s. The artist uses a vibrant color palette and controlled brushstrokes to depict the subject in a realistic way. The imagery of Maurice Kish (1895-1987), whether factories or carousels, reliably subverts expectations. His vision hovers just around the unraveling edge of things, where what is solid and clear becomes ambiguous. He is fascinated, often delighted, by the falling apart. This unexpected, fresh perspective results in oddly affecting pictures of a now long-gone New York. Born Moishe in a town called Dvinsk, Russia (what is now Daugavpils, Latvia), Kish came with his family to New York when he was in his teens. The family settled in Brownsville, and for the rest of Kish’s life Brooklyn remained his home, though he moved from one neighborhood to another. He was close to his parents, who recognized his talent and supported his desire to become an artist. Kish attended the National Academy of Design as well as Cooper Union. His fellow students included many other immigrants and children of immigrants who were particularly receptive to the Modernism coming from Europe. As his career progressed, Kish himself applied different strains of Modernism to different purposes. For him, the story was held above all else. For years, Kish used the skills he acquired in art school to earn his living at a Manhattan glass...